Tell us a little bit about yourself and your work. I was born in a small town in Ohio in 1946. I received a BFA in Sculpture from the Cleveland Institute of Art, Cleveland, Ohio in 1969 and an MFA in Sculpture from Cranbrook Academy of Art, Bloomfield Hills, Michigan in 1973. I studied sculpture at the Skowhegan School of Painting and Sculpture, Skowhegan, Maine 1967 and glass at the Toledo Museum of Art, Toledo, Ohio from 1970-71.
I am Professor Emeritus, College for Creative Studies. I taught at CCS for 40 years. Currently I indulge myself in the studio, conceptualizing and creating art.
Fire began to dominate my art in 1969, the first time I tried to blow glass. As a sculptor, I was forging steel into “form.” Molten glass was an alternative: a hot, quick and scary medium to make art. Once I immersed myself in the glass process, the material became a “fine art” medium for me.
As my glass skills evolved and I explored a new process, I created the Image Vessel Series in 1976. In this series, I “painted” using color and line, and “sculpted” to produce a three-dimensional image through a blown-glass vessel.
Do you have a favorite piece you’ve created? Not one favorite piece; however, each step in the evolution of my work has produced several pieces that I believe interpret what I am trying to say.
Why do you enjoy working with glass? The three-dimensional world is reflected light and shadow. Glass adds transparency and translucency. Together this considerably expands the vocabulary of sculpture.
Where do you find your inspiration for your creations? Inspiration comes from the “human figure” along with its movement and stance.
What are you most looking forward to while being an Artist in Residence at The Henry Ford? I look forward to working with the highly skilled artisans that make up the Henry Ford glass studio. I hope to produce a three- dimensional interpretation of my Image Vessel Series.
Artist in Residence Hiroshi Yamano at work in the Greenfield Village Glass Shop.
Art in action. It’s one thing to admire a sculpture made of glass through the display case, studying the technique and artistry from afar. How do you take such art appreciation to the next level? Put it into action?
That’s the question Charles Sable, curator of decorative arts, and Joshua Wojick, master glassblower at the Greenfield Village Glass Shop, pondered as they thought about what’s next for The Henry Ford’s studio glass collection.
“We wanted to broaden our involvement with studio glass,” said Sable, the curator behind of The Henry Ford’s two new glass galleries, which feature studio glass. “We didn’t want the collection to become static. We wanted to express our commitment to studio glass, and glass in general, in ways that would keep our visitors engaged long into the future.”
Added Wojick, “We wanted to continue to build on the studio glass collection, build on its connection to The Henry Ford and create more of a story — our own story — that would be integrated into each object.”
That story’s next chapter comes in the form of an artist-in-residence program. This spring and summer, the Glass Shop hosts a quartet of renowned glass artists, as talented as they are different in their approaches. The program is a first of its kind for the Glass Shop.
In May, Japanese glass artist Hiroshi Yamano kick-started the program, spending five days in the Glass Shop working with The Henry Ford’s artisans and giving visitors a close-up view of his creative process. Formally trained sculptor and glass artist Herb Babcock will also take up temporary residence in the village, along with Marc Petrovic (several of his pieces are part of The Henry Ford’s Bachmann studio glass collection) and technical glassblower Janusz Pozniak.
“We wanted artists that were willing to share their individual artistic process with the public at large,” said Wojick. “Within our shop, we show the public mostly early American glass. This program opens up our studio for the first time, really giving us a chance to show visitors how contemporary artists work, implement designs, collaborate and meld concepts into the physical.”
The pièce de résistance of the program — each artist will leave behind a one-ofa-kind finished piece that will undoubtedly add to the evolving story of The Henry Ford’s glass collection.
“Madam X,” a 1939 Cadillac Sixty Special and one of the stars of the 2017 Detroit Autorama.
The car show season usually feels far away in late February. (Usually. Maybe not this year, when Detroit temperatures have already approached 70 degrees.) But the weekend of February 24-26 brought us a tease of the top-down, volume-up cruising weather to come. More than 800 cars filled Cobo Center for the 65th annual Detroit Autorama, among the most important shows in the hot rod and custom car hobby.
The VW Beetle-based “Baja Bandeeto,” showing that presentation is everything.
Naturally, Autorama doesn’t simply open the doors to kick off the event. No, it starts with something special. This year launched with a nod to The Dukes of Hazzard, the downhome television series that undoubtedly influenced every Autorama participant born between 1970 and 1980. The Northeast Ohio Dukes stunt show team patched together a derelict Dodge Charger, gave it the necessary orange paint, and jumped it 134 feet over Atwater Street, just outside Cobo Center. The flight was fantastic, but the landing… well, that Charger needs more care than Cooter Davenport can give it if it’s ever going to fly again.
“More Aggravation,” recipient of the very first Ridler Award in 1964.
Autorama’s top prize is the revered Ridler Award, named for early show promoter Don Ridler. Qualifying cars cannot have been shown publically prior to Autorama. Judges announce their “Great 8” – the eight finalists – at the Ridler’s Ball on Friday night. For the rest of the weekend, anticipation builds until the winner is revealed at the end of Sunday’s awards ceremony. The winning owner earns a small piece of immortality, with her or his name forever engraved on the trophy and added to the Winner Archive, and a not-so-small chunk of change in the form of $10,000. This year’s Ridler Award went to “Renaissance Roadster,” a scratch-built 1933 Ford powered by a GM big-block 427 crate engine.
One of the Rat Rods – the deliberately under-restored cars – that populated Autorama Extreme on Cobo Center’s lower level. Even in this condition the ’55 Chevy’s inherent beauty shines through.
For the fourth year, The Henry Ford presented its Past Forward award. With the prize, we look to honor a car that 1.) Combines traditional inspirations with modern innovations, 2.) Exhibits a high level of skill in its construction, 3.) Captures the “anything goes” attitude of the hot rod and custom car hobbies, and 4.) Is just plain fun.
“Pearl Necklace,” winner of The Henry Ford’s Past Forward award for 2017.
For 2017, we found all of those qualities in “Pearl Necklace,” a 1959 Ford Galaxie 500 built and owned by John Oberg and Roy Oberg. Apart from the pearlescent paint that inspired its name, and the beautiful marbled wheels (with retro Ford Motor Company logos on the hubs), “Pearl Necklace” could almost pass for stock. But this Galaxie’s a sleeper. The 352 V-8 was bored out by .020 inches, the stock differential was replaced with a 3.73 gearset for faster launches, and the transmission was replaced with Ford’s rugged C6 automatic to handle extra torque. Not that the car was too shabby even when originally built. Plaques on the door proudly boast that it’s “Air Conditioned by Ford Select Aire,” a ritzy option that accounted for almost 20 percent of the original $2,500 sticker price!
This 1979 Pontiac Firebird Trans Am was pointed west in Cobo Center, but it was eastbound in spirit.
But the best thing about “Pearl Necklace” was simply this: The car was a labor of love, built by John and Roy (with help from one or two friends) in a two-car garage over the course of 26 years. It’s that kind of dedication that makes a custom car special – and makes the Detroit Autorama a car show like no other.
Matt Anderson is Curator of Transportation at The Henry Ford.
You’re in a nightclub. The cavernous space is packed with bodies moving in time to the pulsing, morphing rhythms of electronic music. On a small stage, a shadowy figure hunches over a laptop, typing furiously. Projected computer code scrolls down a wall, The Matrix-style, a digital flurry of numbers, words and brackets as synth sounds build and music loops modulate.
This scene could almost be a slick DJ club set, but there are no knobs, decks or instruments in sight. Yet the code is real, and it’s all live.
This is the world of live-coding music, an art form in which performers create music by programming computers on the fly, in front of an audience, writing and revising instructions that trigger and manipulate sounds, rhythms and effects in real time.
THE MATH OF MUSIC When it comes to expressing musical ideas, computer programming might seem an unlikely outlet. But computer science is grounded in math, and music, with all of its messy, imprecise human expression, is largely built on mathematical relationships — harmonic structure, rhythmic patterns, and at its most fundamental, the unique combinations of sine waves that make up the sounds all around you, from birdsong to the roar of a jet engine.
We’ve been exploring parallels between music and math since the days of Pythagoras. Today, musicians and composers are able to use computers as tools to interpret and express these values and relationships.
“It’s clearer through coding that music can be expressed as essentially patterns of numbers that are processed and transformed in various ways — and that we can add expressivity by changing the sounds we are using and shaping the structure of our sounds,” said Shelly Knotts, a composer, experimental artist and live coder in the United Kingdom.
As a live coder learns to anticipate these mathematical relationships, his or her ears learn to “hear” the relationships, much like in traditional music theory training. Live coders often write code that they can hear in their heads — which, at a fundamental level, relates to Beethoven’s ability to continue composing even after he had completely lost his hearing. BREAKING DOWN BARRIERS Live-coding languages and styles vary. Most performers create music entirely on the fly, constructing ideas from scratch; a few mix in precoded elements, DJ-style. But they all embrace the movement’s overarching philosophy that live coding should be inclusive and accessible to everyone.
For most live coders, exposing their code is part of the performance and serves to demystify their process, forging a connection with the artist through his or her “instrument,” explained Sam Aaron, a British researcher, software architect, educator and live coder. “Why is it important for a guitarist to let you see his or her guitar? People have all held guitars; most of us are not very good at it, so when you see someone who’s good at it, you can appreciate the virtuosity.”
There’s no denying that projecting computer code adds a compelling visual element to a performance, but if you’re not paying attention to the language itself, you’re missing the point. “It’s like saying Jimi Hendrix made amazing music, but he had a fabulous wooden necklace,” added Aaron.
Live coding challenges preconceived ideas about the programmer’s experience by bringing a traditionally solitary process into a participatory realm. “It’s like writing, really; you don’t generally write in a social way,” said British musician and researcher Alex McLean, member of the live-coding band Slub and cofounder of TOPLAP, an organization formed in 2004 to bring live-coding communities together. “I think live coding is not necessarily showing programmers as something different, but rather a different way of interacting with the computer; it’s very different, working alone on a piece of text and having people in front of you, listening intently,” added McLean, who is also credited with co-inventing the algorave, a rave-like club event based around live coding.
Since its inception about 15 years ago, live-coding culture has been rooted largely in Europe and the U.K., but the movement is slowly building international interest through festivals and other live events, long-distance collaborations over video and social media, and creative partnerships with more mainstream artists. But the most powerful force for longevity is education, and right now, it’s Aaron holding the key.
CRACKING THE CODE “I want to make sure the leap from code to music is as small as possible and as clear and simple to as many people as possible,” said Aaron, a passionate advocate for unearthing the creative potential of programming languages. He spends his days as a researcher at the University of Cambridge in England and his nights performing live coding.
In 2012, Aaron created Sonic Pi, a simple yet powerful open-source programming environment designed to enable users at any level to learn programming by creating music and vice versa. Sonic Pi is used all over the world; it runs on any computer platform including Raspberry Pi, the $40 credit card-sized computer designed for DIY projects and for promoting computer science in schools and developing countries.
“Music really helps by wrapping the math concepts and computer science concepts into something that has direct meaning to kids, which is making music,” Aaron said. “And making the kind of music, hopefully, that they listen to on the radio or stream.”
The case for building these new learning paths to computer science is strong. Understanding basic programming improves logical thinking and provides a fundamental understanding of technology we use every day.
“Teaching people what coding is — how precise a language has to be for a computer to understand it — gives people an appreciation of an execution of semantics in a program, affordances of a system, interaction with a system,” said Aaron. “People are telling kids to learn how to program because they can become professional programmers. It’s like saying we should all do sports in school so we can become professional athletes. You don’t teach math because you’re training the future mathematicians. There’s a level of math that’s useful to all of our lives."
Sarah Jones is a writer for The Henry Ford Magazine. This story originally ran in the March-May 2017 issue.
While researching the many electrical objects being digitized as part of the Institute of Museum and Library Sciences grant, a few stories have stood out to me. These stories sometimes involve the people behind the scenes: manufacturers, inventors, etc., and other times are about how the object was used. Below are four such objects and their stories.
This Jenney Electric Motor Company rheostat has uncovered an interesting story about the company’s namesake. It was designed by Charles G. Jenney who was awarded a patent for it in 1892. Jenney, originally from Ann Arbor, Michigan, moved to Fort Wayne, Indiana with his father to design and produce electrical equipment for the Fort Wayne Jenney Electric Light Company. On February 27, 1885, Jenney, who had been contracted to the Fort Wayne Jenney Electric Light Company by his father while still a minor, successfully petitioned to be removed from the company, and, a month later, he founded the Jenney Electric Light Company later the Jenney Electric Company. The Jenney Electric Company was demonstrating Jenney’s dynamos, arc lamps, and incandescent lamps by August that same year. This company was bought out and Jenney started again, this time with the Jenney Electric Motor Company in 1889 for which he produced electrical equipment like this rheostat, filed for more patents, and wired and lit the streets of Indianapolis.
Designed by Fredinand Buchhop optician and the optician Emil B. Meyrowitz this uniquely shaped motor powered electric drill was used for nasal surgeries including septum operations and electro cautery. On March 3, 1891, Meyrowitz and Buchhop patented the motor, but were only able to patent the globular shape. Even though the motor was crudely constructed, it was portable enough to be useful in the operating theater and at the patient’s bedside.
During the latter half of the nineteenth century, Professors William E. Ayrton and John Perry collaborated on many electrical device inventions including electric railway devices, and electrical measurement instruments including this ammeter. Ayrton and Perry personally certified the accuracy of their meters, and they were touted as being among the most reliable meters during a test in 1886. The London, England-based company, Latimer Clark, Muirhead, & Co., Limited manufactured this Ayrton and Perry Ammeter made between 1883 and 1890.
Last but not least, an electric contactor that required a bit of sleuthing to uncover the correct patents and court cases. According to a tag on this electric contactor, it was used as part of General Electric’s defense when they were on trial for infringing on Sundh Electric Company’s patents. The contactor was part of patent 969,738, which described a new method of operating and controlling electrically controlled switches with an electric motor. This contactor would have been provided in conjunction with the auxiliary switch arrangement to be used on the resistance controlling contactors during operation. Sundh Electric Company thought General Electric’s switch mechanism was too similar to their own, but their patent did not include a contactor resembling this object. Additionally, Sundh Electric Company improved upon an already existing patent prompting the court to side with the defendants, which allowed both patents to remain valid. Laura Lipp isCollections Documentation Specialist at The Henry Ford.
I’ve already shared some thoughts on the 2017 North American International Auto Show, but one important new car wasn’t yet revealed during my visit last week. Of course, I’m talking about the Lego Batmobile from Chevy.
My tastes in bat-transportation run more traditional, but Chevy has something going for it here. The Lego Batmobile’s 20,000-horsepower rating makes it eight times as powerful as the Goldenrod land speed racer. Likewise, the V-100 engine’s 60.2-litre displacement is more than eight and a half times what it took for the Mark IV to win at Le Mans fifty years ago. The Lego Batmobile’s styling achieves that rare combination of aerodynamic and exquisite, certain to turn heads on every street corner. Be sure to order the optional bat hood ornament – superior to anything by Lalique. (Besides, everybody knows that bats eat dragonflies.)
Granted, the Lego Batmobile’s $48,000,000 price tag is roughly 1,116 times larger than that of the Bugatti Royale, but choose the extended 84-month financing plan and your monthly payment is a reasonable $571,430. (Pro tip: Take advantage of the 0% financing – trust me on this.) The Lego Batmobile is a personal car for every personality – whether you’re feeling vengeful, groovy, hoarse, or just plain indefensible.
Indeed, the Chevrolet’s Lego Batmobile may only have one strike against it – I’m told that it handles like a ton of bricks.
Matt Anderson is Curator of Transportation at The Henry Ford.
Life is often a juggling act of work, play and family. While current-day clothiers experience the trials and tribulations of being small-town entrepreneurs in the big business of fashion, more than 100 years ago many women were facing similar circumstances, leaning on their sense of style to furnish a living.
In the late 1800s, Elizabeth Cohen had run a millinery store next to her husband’s dry goods store in Detroit. When he died and left her alone with a young family, she consolidated the shops under one roof. Living above the store, she was able to run a business and earn a living while staying near her children.
Cohen leveraged middle-class consumers’ growing fascination with fashion, using mass-produced components to create hats in the latest styles and to the individual tastes of customers. To attract business, resourceful store owners like Mrs. Cohen displayed goods in storefront windows and might have advertised through trade cards or by placing advertisements in newspapers, magazines or city directories.
“While Mrs. Cohen was more likely following fashion than creating it, it did take creativity and design skill,” Jeanine Head Miller, curator of domestic life at The Henry Ford, said of Cohen’s millinery prowess. “She was a small maker connecting with local customers in her community — a 19th-century version of Etsy, perhaps, but without the online reach.”
And she certainly gained independence and the satisfaction of supporting her family while selling the hats she created from the factory-produced components she acquired. “People can appreciate the widowed Elizabeth Cohen’s balancing act,” added Miller, “successfully caring for her children while earning a living during an era when fewer opportunities were available to women.”
Jennifer LaForce is a writer for The Henry Ford Magazine. This story originally appeared in the June-December 2016 issue.
In the summer of 2014 I had the opportunity to study at The Henry Ford through the National Endowment for the Humanities Landmarks of American History and Culture Workshop “America’s Industrial Revolution at The Henry Ford.” I had applied for two NEH programs that spring, one in Boston and the other at The Henry Ford. As a history major, I was very excited about the idea of Boston. Being a Michigan resident, I had been to The Henry Ford numerous times in my life and I "knew" what was there. I knew I would be happy with either location and a week of studying history is pretty much what history nerds want, right?!
I was honored to get the letter inviting me to The Henry Ford even if I was a little disappointed that I would not spend three weeks in Boston. I was somewhat concerned because as I left school in June, I knew that my schedule for the next school year was World History and AP European History - not necessarily classes that I thought related to Michigan or the collection at The Henry Ford.
Was I in for a surprise. My week at The Henry Ford blew me away. Henry Ford Museum of American Innovation, Greenfield Village, and the Ford Rouge Factory offered social, economic, and political history for the US and technological artifacts that directly related to the worldwide Industrial Revolution. I came back to school with images of technologies that had propelled the world into the modern era and new ideas of how to share those images with my students. On top of the sheer number artifacts, the staff of The Henry Ford also put together a collection of speakers with expertise beyond any I had studied before.
Learning about steam engines with Chief Curator Marc Greuther.
That first year back I did not have the time or the resources to take my students to The Henry Ford, but I showed clips and shared my experiences. In 2015 I was given the opportunity to teach AP US History and my main goal was to get my students to the museum and village. With the help of a grant from The Henry Ford my first class of 40 AP US History students got to spend a day at both locations. We spent the morning in the rain wandering around the village and seeing the buildings and pieces of history. The afternoon was warmer and drier and we were able to wander through the museum and see artifacts that we were reading about in the classroom.
In 2016 the interior design teacher and I brought two buses of students to see the village and we wandered through time, seeing the changes in American life from the colonies to the 1920s. We rode the train and watched as The Henry Ford’s artisans showed how everyday items were created with past technology. With both visits, my time at the workshop came flooding back. I could share with my students details about the buildings, artifacts, and museum history that are not available to just any visitor. I felt like I took them on a journey through time. Both years I was able to use the trip to make connections that would have been more abstract without those personal experiences. More than half of my students had never been to the village or museum before this trip.
NEH teachers learn by doing on the Weiser Railroad in Greenfield Village.
I asked some students to share their experiences and here is what a few had to say.
"Throughout the field trip I enjoyed seeing many historical buildings that contributed to American History. I didn't think I would ever get a chance to see the laboratory where the Wright Brothers did their famous work. I had seen pictures of their workshop when I created a project on them in middle school. Overall a great experience."
"It was fascinating to actually see the stuff that we read about in textbooks. The Thomas Edison exhibit was interesting because there was indoor electricity but still had an outhouse. "
"I mean personally for me, it was just amazing to see things and stuff that didn't even originate in Michigan. The fact everything there is kept as detailed and accurate as possible amazes me. The old style homes were crazy and definitely reflected the location they belong in in their architectural design. So simply put it was a fantastic opportunity to learn a lot about not just our state, but others and see the different technological advancements."
My last day at The Henry Ford my family came down to visit and we spent an extra day taking our daughters around the museum and village. Needless to say, we left with a family membership and have been back at least three times a year since. We have shared the experience with friends and family and watched the World Series of Historic Baseball and ice skated during the Christmas festivities. We saw Gridiron Glory and grooved to the Beatles in The Magical History Tour. It is our day trip destination of choice.
Leah Markey is a Social Studies Teacher at Heritage High School in Saginaw. Mich.
When Chris Lauritzen at YouTube in October 2014 to start a book design and publishing studio called Epilogue, he expected to have a working version of his first title — a reissue of Edwin A. Abbott’s cult classic "Flatland" — ready by the holidays. So much for expectations: The launch party was held in April 2016.
Not that Lauritzen was slacking off in the intervening year and a half. Independently publishing a print book these days, especially one conceived as a beautiful art object, takes a serious, long-term commitment. Lauritzen didn’t just have to design "Flatland" — to conceptualize it, typeset it, illustrate it and prototype it. He also had to crowdfund it and then look all over the country (plus Canada) for those few remaining specialty shops that would suit his various printing, binding and shipping needs. All of which raises the obvious question: Why? Who would want a meticulously crafted print edition of a 130-year-old public-domain text in 2016? Especially when print is, if not dead, then certainly struggling?
Lauritzen’s answer is to question the question: He believes it’s a glorious, singular time for the print medium.
SMALL BOOK, BIG IMPACT At one time, everything was printed on paper: ads, fliers, brochures, pamphlets, notes. Or, as Lauritzen characterizes that stuff: “Junk. Ephemeral noise.” But over the years, much of that material has gone digital, clearing the printed world of clutter.
“By choosing to do something in print, you’re saying this thing is worth a damn,” Lauritzen said. “Print is starting to become its own quality filter.”
Lauritzen knew he wanted to apply that filter to something in the public domain, a vast collection of works that anyone can use, print and distribute without permission. But he wasn’t aware of "Flatland" until a friend suggested he check it out.
Written in 1884 by the English scholar Edwin A. Abbott, "Flatland" is a small book about a big subject: multiple dimensions. The narrator, a square named (fittingly) A. Square, lives on a flat 2-D plane, but he’s forced to consider what the 3-D world of Spaceland might look like when a sphere from there pays him a visit.
Ian Stewart, an emeritus professor of mathematics at the University of Warwick in England who published an annotated version of "Flatland" in 2002, considers Abbott’s book one of the earliest works of popular science. “There’s really nothing else like it,” Stewart said. “It was completely original and unusual.”
The book wasn’t just about having fun in multiple dimensions, though. Abbott used geometry to challenge Victorian norms about the role of women in society — math as a tool for social progress. Some didn’t get it; many did. The first edition sold out quickly, and it has been in print ever since, a favorite among a wide range of readers who wonder about their place in the world.
Lauritzen was an immediate convert — it was exactly what he was looking for. Given its largely two-dimensional setting, he felt it would play nicely with his skill set as a graphic designer. But more than that, "Flatland" had a following, not huge but passionate, that was rather unhappy with the editions of the book currently available.
NOT JUST FOR SHOW Because works in the public domain can be accessed for free, there’s not much financial incentive for a publisher to put out nice editions. "Flatland" is no exception. It exists in a variety of terrible formats, from websites and PDFs to cheesy print runs that feel more like pamphlets than books. “It’s really unsatisfying,” Lauritzen said.
So, when he launched a Kickstarter in April 2015, that was his selling point: the chance for a beloved classic to get the makeover it deserved. The goal was $24,000; he raised well over three times that ($81,777, to be exact). Then the real challenge — making the book — began. Even though Lauritzen intended the reissue to be something of a collector’s item, he didn’t want a finished product that was destined for a coffee table, untouched and unread.
“It shouldn’t be a fetishized object,” he said. “The sooner you throw it on the ground, the better.”
To that end, he chose to make it softcover, with thick paper and extra-wide margins for writing in. The floating spine means you can bend the pages back as much as you want and the binding won’t crack. Lauritzen also appended a visual guide, full of exquisite black-andwhite illustrations that illuminate various concepts in the text. He’s now working on a supplementary online library of shapes — “an education/ art experience for students of geometry,” he said. Finally, to add heft, he designed an elegant gray slipcase, stamped with a silver tesseract.
This wasn’t a solo production, of course. At last year’s launch party, held in a small shop in San Francisco, Lauritzen thanked all of the people who helped him along the way — friends, family, the workers in Vancouver and Phoenix and Oakland who printed and bound and shipped the books. Of the 2,000 copies Lauritzen printed, roughly half were sent to Kickstarter backers, and the remainder are now available for $65 each, a price Lauritzen hopes will decrease in subsequent print runs.
You can tell Lauritzen is proud of the result. He flips through it lovingly — though he’s not afraid to bend a corner or mark up a page. The whole point is to get people to read it.
“Time was spent writing this thing, time was spent designing this thing, time was spent producing it, time was spent getting it into your hands,” he said. “That’s contagious. That’s something you can sense. It gives you permission to take time with it, to sit down and really delve in.”
Jason Kehe is a writer for The Henry Ford Magazine. This story originally ran in the March-May 2017 issue of the magazine
The Henry Ford sponsored the 2017 CES Innovation Awards, visible here.
If you explore the Consumer Electronic Show “by the numbers,” the tallies show an influx of 177,000 people into one small area of Las Vegas. Over the course of four days, the visiting population (equivalent to that of a small city) attempts to make its way through nearly 2.5 million square feet of exhibitions presented by almost 4000 different companies. By no means to be shrugged off is the 35 miles of walking I did over the five days that I was there; despite all of this trekking across three separate venues, I failed to see everything.
For those unfamiliar with the event, CES is a global trade show produced by the Consumer Technology Association. Every January, established companies and young startups alike launch and demonstrate the latest in consumer technology. At this event, some of the biggest names in innovation display alongside next-generation technology developers.
Many artifacts from The Henry Ford’s collections, including those above, were first launched at CES.
In 2017, CES reached its 50th anniversary. To celebrate this milestone, an exhibition of devices first introduced to the public at the show were on display. The list of technology unveiled at CES over the years is impressive: Sony’s U-matic VCR (1970), the Sony/JVC personal Camcorder (1981), Philips’ CD player (1981)—as well as a lineage of media formats like the laserdisc (1978), CD (1981), DVD (1996), and Blu-Ray (2004). Many items that were introduced to the marketplace at CES also appear in The Henry Ford’s collections: Atari’s version of Home Pong (1975), the Commodore 64 (1982), the Nintendo Entertainment System (1985), the Sony Walkman (1980), and many cellphones from the 1980s that seem laughably large to us now such as the Motorola “brick phone” and wearable StarTAC flip-phone.
The Aira service is a digital visual interpreter for the blind.
The Henry Ford also sponsored the CES 2017 Innovation Awards—“an annual competition honoring outstanding design and engineering in consumer technology products.” Several winners in the Accessibile Tech category were of interest, given The Henry Ford’s archival collections documenting a visit from Helen Keller, blind workers at the Ford Rouge, TTY/TDD devices, or vibrating alarm clocks for the deaf and hard of hearing. The Aipoly application uses artificial intelligence and a smartphone camera to help the blind identify objects around them; the Aira service is a similar real-time visual interpreter that makes use of wearable devices like Google Glass to do the same. The ReSound ENZO2 hearing aid also makes use of the Bluetooth technology embedded in smartphones, allowing people to adjust noise cancellation levels in crowded area from an app on their phone—or to stream phone calls and music directly to their assistive devices.
The REMI smart alarm clock helps children to develop healthy sleep patterns. (Image courtesy of Urbanhello)
Increased awareness of digital citizenship and responsibility were also evident in the Innovation Awards—an important theme that will continue to affect our technology collections as we continue to grow them. The XooLoo Digital Coach rethinks parental controls over teen’s technology use. Rather than simply limiting content, this application allows parents to ethically participate and learn about the patterns of use in their children’s digital lives. The app does many things, such as log the amount of time spent on websites and social media, allows parents to turn off digital access during mealtimes—yet respects privacy by not exposing messages or geo-tracking. Other examples include the Motorola Moto-Mods series, which allows a Moto Z phone to transform into a boombox or a big screen projector—turning the solitary viewing or listening of media stored on smartphones into outward, shared experiences. The pleasant-looking Remi smart alarm clock by UrbanHello visually trains children how to create better sleep routines, which results in healthy growth, moods, and learning. Its glowing face flips from sleepy to happy mode, indicating when it is acceptable for a child to get out of bed; additional custom programming tells children when to brush teeth, plays calming music or can act as a monitoring device.
The Navdy heads-up display allows drivers to see basic information linked from cell phone apps through a transparent screen on their dashboard. (Image courtesy of Navdy)
The continuing exploration into the applications of Artificial Intelligence and Augmented Reality dominated many booths, and was present in the work of several Best of Innovation Awardees. The Google Tilt Brush has been receiving attention as one of the first “killer apps” designed for VR, allowing people to create immersive worlds of painted light that might be applied towards prototyping video games, fashion, art projects, and industrial design.
And the Navdy Head-Up Display projects essential information linked from smartphone applications onto a clear display that rests in the line of sight of a driver’s windshield. Intended to reduce mental distraction that comes with needing to turn one’s head to look at vehicle technology, the Navdy allows drivers to see basic mapping, messages, and incoming phone calls without looking at their cellphones.
Ian Bernstein of the robotics company, Sphero, talks about important tactics for technology startups (second from left).
At a TechStars panel discussion, Ian Bernstein of the robotics company Sphero spoke about the importance of a young hardware company being able to “fake it.” Sphero was one of the first three companies in the world to create a device controllable from a smartphone. Their quirky spherical robots glide around with huge amounts of personality. Today, most people would recognize their Star Wars BB-8 toy sold in major retail stores beginning in 2015. But when Bernstein and co-inventor Adam Wilson first demonstrated their prototype Sphero at CES in 2011, after two days of heavy use, the 3D printed shells started to break down. On the third day of CES, the robots might have looked the same to visitors, but in reality, hours before the show opened, Bernstein had been misting clear backup shells with white spray-paint out in the parking lot. The spheres were also held together with clear silicon bands to make it easier for his friends working the booth to charge drained batteries.
As a curator of technology, it was easy to become overwhelmed by the sheer volume and potential of promising new technologies that were everywhere I looked. But beyond the dazzle of the “near future,” there were other layers to consider: the absolute importance of technology as an agent of social transformation, the remixing of old technologies into new—or the collapsing of multiple technologies down into one “convergence” device. Also tangible was the sheer amount of ingenuity and resourcefulness it could take for a single company to finally reach a point of presenting their work to the public. The innovator trait of embracing failure and revision in the prototyping process was also top of mind as I walked through the show. In the end, it is difficult to predict which ideas and devices will eventually reach the level of mass adoption by the everyday people—a key component to the “staying power” of technology.
Our curator of technology can verify that the coffee made in the DENSO Robotics Café was very good.
Many people have asked: “what is the best thing you saw at CES?” This question usually results into a wide-eyed panic as I try to rank one incredible bit of innovation over the other. But maybe a better question would be “what is the strangest thing you experienced at CES?” Immediate answer: being served a surprisingly good cup of pour-over coffee brewed by two graceful robot arms in the DENSO robotics booth. Once the former barista in me stopped thinking in a panic—“the robots are coming!”—the caffeine fix was appreciated, all the same.
Kristen Gallerneaux is Curator of Communications and Information Technology at The Henry Ford.